Introduction
Different individuals across the globe say that old folks are resistant to change since they tend to be accustomed to the ancient ways. However, in the “Gran Torino” by Clint Eastwood, it is very evident the every individual can embrace change. Walt Kowalsky, the protagonist, is a cold hearted racist veteran, whose humanity is thawed through his associations with the Hmong neighbors; motivating an enormous change in the manner he treats himself and even other people around him. Clint Eastwood utilizes the ending and the beginning to pinpoint this change and educate the audience valuable lessons through the implementation of camera angles, dialogue, symbolism and even inter-cutting (Carley et al.).
Critical Analysis
Symbols of violence, like guns, have made appearances numerous times within the movie and the manner in which the protagonist- Walt- employs them change to demonstrate his developing peaceful character. Walt begins as a very confrontational man hence the Hmong gang is first made familiar with his loud growl and the end of his short gun, moments before they get to meet the man himself. With a low angle and subjective shot, the viewers are compelled to feel that Walt’s short gun is aimed at them, and coupled up with the tremendous sense of power being brought about by the low angle; Walt's violent nature is stressed. When countered with signs of disagreements at the beginning, he does not think twice about bringing his weapon. This can be due to Walt’s previous long-term exposure to extreme violence during the war in Korea, from where he got his gun from. Moments before he dies at the end of the film, Walt is captured by a midshot pointing his “finger gun” at the gang in a way similar to his confrontation of Sue's harassers and consequently brought out a real gun (Kramp 922). From this previous experience, Clint Eastwood prepares the audience up to believe that the protagonist will eventually reach for a weapon carefully concealed in his clothing, hence surprising the audience when his clenched fist finally reveals no weapon. Like the viewers, the Hmong gang is also tricked and for defense, they quickly shoot him. According to Walt’s plan, the gang is kept away in prison and, therefore, the Hmong gang is unable to disturb the Vang Lors again. As stated by Mahatma Gandhi, it is impossible to shake hands using a clenched hand, Walt demonstrates this by letting go of his violent past and by doing so, he resolves with his past. The protagonist, Walt, begins as a conflicted man; however, by the end of the movie, it is evident that Walt has made harmony with his inhumane principles.
Two acute close shots of the protagonist’s Medal of Valor are deployed- one when sitting in its small package at the beginning and the other one while attached to Thao's shirt at the end mainly to symbolize the disposal of the protagonist's guilt. Given to him for murdering a little-scared gook kid who only desired to surrender, Walt is tormented by his sins and his remorseful feelings are caged up in a similar way to his medal, at the beginning of the movie. On the other hand, he offers Thao the medal before he takes his leave to deal with the Smokie’s gang, another symbol demonstrating his dumping of his past guilt, When Walt is shot and falls to the ground, Clint Eastwood employs the unnatural Bird’s eye angle of view to highpoint Walt’s body’s crucifix position (Kramp 921). This same position of the death of Christ Jesus connotes the protagonist’s atonement of sin, passing the information regarding the redemption of Walt through the Vang Lors’s sacrifice. After his death, at the movie’s end, the second medal's extreme close shot is taken, strengthening the notion of redemption and reminding the audience of the change undergone by Walt. Walt’s newborn peace shows in the peaceful manners in which he handles the Hmong gang, making sure that Thao won’t be involved in the extreme violence and be forced to live with the painful guilt of bloodshed unlike him.
The symbolism and the camera angles employed at the beginning and the end of the movie convey to the readers the significance of leaving behind the past and making sure the past does not dictate one's future. Therefore, the end and the beginning of the Gran Torino bring forth the change regarding Walt's willingness to father his children (Raval 152). Within the opening scene at the funeral, a close shot of the protagonist's perpetual scowl and sullen expression cuts through to a midshot of Mitch, Walt's son, whispering to his brother that there is nothing his brother will achieve that will not disappoint their father. This provides the audience the impression of the strained and split relationship between the father and his sons, an impression which is later on reinforced in the next scene where their father “Walt” snaps that he urgently need the chairs immediately, not later the following week.
Intercutting amidst wide shots of Walt and his son Mitch, conversing via phone also takes place at the beginning, with Walt’s son cheerfully asking his dad about the going and later asks for a favor, which prompts his dad to hang up on him. Interestingly enough, the text’s ending employs same intercutting during the phone conversation where Walt personally and voluntarily calls his son Mitch and asked how he is doing; this is preceded by a close shot of his son’s surprised expression. These parallels of dialogue and intercutting stress how much change Walt’s personality has undergone. Even though he confesses to Father Janovich that he was never close to his children, his bonding with Thao inspires Walt to take that first difficult step in mending his strained relationship with his biological children. The disparity in his attitude from the end and the beginning of the movie, offer the audiences hope that there is no connection that cannot be mended as long as the parties involved are willing to do so (Raval 151).
Conclusion
Through the analysis of the skillfully and carefully crafted movie, “The Gran Torino,” Clint Eastwood highlights the significant change in the character of the protagonist Walt. The difference between the protagonist's character at the beginning of the movie Gran Torino and the end encourages the audiences to embrace meaningful change since the change will lead to personality development in the willing individuals. Clint Eastwood's creative vision is clearly demonstrated in the Gran Torino hence the reason behind the expertise. The consistent use of shadow lighting appears as the common style.
References
Carley, Christopher et al. Gran Torino. Hamburg: Warner Home Video Germany, 2009. Print.
Kramp, Joseph M. "Film Review: Gran Torino (2008)". Pastoral Psychology 60.6 (2011): 921-922. Web.
Raval, Geeta. "Gran Torino Dir. Clint Eastwood". Middle West Review 1.1 (2014): 151-153. Web.
